The spatializing consciousness of Chinese cinema

References

1. Alberti, Leon Battista ([1435] 2011), Leon Battista Alberti: On Painting (ed. and trans. R. Sinisgalli), Cambridge: Cambridge University Press.
   [Google Scholar]
2. Anon. (1897), ‘Guan Meiguo yingxi ji’ (‘On viewing the American shadow play’), Youxi bao (Game Post), 5 September.
   [Google Scholar]
3. Anon. (1898), ‘Xu Yuan jiyou xu’ (‘A visit to Xu Garden’), Qu bao (Fun Post), 20 May.
   [Google Scholar]
4. Arnheim, Rudolf ([1957] 1968), Film as Art, Berkeley, CA: University of California Press.
   [Google Scholar]
5. Arnheim, Rudolf (1981), Dianying zuowei yishu (Film as Art) (trans. Y. Yang), Beijing: Zhongguo dianying chubanshe.
   [Google Scholar]
6. Bazin, André ([1954] 1962), ‘Le Cinéma italien va-t-il se renier?’, in Qu’est-ce que le cinéma? IV. Une Esthétique de la Réalité: le néo-réalisme, Paris: Cerf, pp. 100–03.
   [Google Scholar]
7. Bush, Susan and Shih, Hsio-yen (2012), Early Chinese Texts on Painting, Hong Kong: Hong Kong University Press.
   [Google Scholar]
8. Cao, Xueqin 曹雪芹 [and Gao, E 高鶚] ([1982] 1996), Honglou meng (Dream of the Red Chamber), Beijing: Renmin wenxue chubanshe.
   [Google Scholar]
9. Chen, Chuanxi 陳傳席 (2015), Liuchao hualun yanjiu (A Study of Six-Dynasties Theories of Painting), Beijing: Zhongguo qingnian chubanshe.
   [Google Scholar]
10. Chen, Guangzhong 陳廣忠 (ed.) (2012), Huainanzi (Philosophers of Huainan), Beijing: Zhonghua shuju.
    [Google Scholar]
11. Chen, Guying 陳鼓應 (ed.) ([2007] 2018), Zhuangzi jinzhu jinyi (Zhuangzi with Modern Annotations and Translations), vol. 1, Beijing: Shangwu yinshuguan.
    [Google Scholar]
12. Cheng, Bugao 程步高 (1983), Yingtan yijiu (Memories of the Silver Screen), Beijing: Zhongguo dianying chubanshe.
    [Google Scholar]
13. Cheng, Jihua 程季華, Li, Shaobai 李少白 and Xing, Zuwen 邢祖文 (eds) (1963), Zhongguo dianying fazhan shi (Developmental History of Chinese Cinema), Beijing: Zhongguo dianying chubanshe.
    [Google Scholar]
14. Damisch, Hubert (1975), Semiotics and Iconography, Lisse: The Peter de Ridder Press.
    [Google Scholar]
15. Deleuze, Gilles (1983), Cinéma 1. L’image-mouvement, Paris: Minuit.
16. Djen, Jon Lee (Zheng, Junli/鄭君里) (1962), ‘Lin Zexu (fen jingtou juben)’ (‘Shooting script of The Opium Wars’), in Lin Zexu: Cong juben dao yingpian (The Opium Wars: From Screenplay to Film), Beijing: Zhongguo dianying chubanshe, pp. 61–204.
    [Google Scholar]
17. Djen, Jon Lee (Zheng, Junli/鄭君里) (1979), Huawaiyin (Voiceover), Beijing: Zhongguo dianying chubanshe.
    [Google Scholar]
18. Fan, Victor (2022), Cinema Illuminating Reality: Media Philosophy through Buddhism, Minneapolis, MN: University of Minnesota Press.
    [Google Scholar]
19. Fang, Yizhi 方以智 ([c.1643] 1937), ‘Zhanhou lei’ (‘The category of astrology and divination’), in Y. Wang (ed.), Wuli xiaoshi (A Brief Knowledge of the Principles of Things), Shanghai: Shangwu yinshuguan, pp. 1.60–65.
    [Google Scholar]
20. Fang, Yizhi 方以智 ([1652] 1962), ‘Fan yin’ (‘Inverse causality’), in Dong xi jun (Unity of Opposites), Beijing: Zhonghua shuju, pp. 38–41.
    [Google Scholar]
21. Gombrich, Ernst (1960), Art and Illusion: A Study in the Psychology of Pictorial Representation, London: Phaidon.
    [Google Scholar]
22. Guo, Ruoxu 郭若虛 ([c.1074] 1985), Tuhua jianwen zhi (Record of Pictures and Paintings Seen and Heard About), Beijing: Zhonghua shuju.
    [Google Scholar]
23. Guo, Xi 郭熙 ([c.1117] 1962), ‘Shanshui xun’ (‘Instructions on landscape painting’), in Linquan gaozhi (The Lofty Message of Forests and Streams), in A. Yu (ed.), Hualun congkan (Theories of Painting Series), Beijing: Renmin meishu chubanshe, pp. 1.17–23.
    [Google Scholar]
24. Han, Zhuo 韓拙 ([1121] 1962), ‘Lun shan’ (‘On mountains’), in Shanshui chun quanji (A Complete Collection on the Landscape Painting), in A. Yu (ed.), Hualun congkan (Theories of Painting Series), Beijing: Renmin meishu chubanshe, pp. 1.35–37.
    [Google Scholar]
25. Hou, Yao 侯曜 (1925), Yingxi juben zuofa (Methods of Writing a Shadow Play), Shanghai: Taidong shuju.
    [Google Scholar]
26. Hua, Lin 華琳 ([c.1840] 1962), ‘Nanzong juemi’ (‘Secrets of the school of Nanzong’), in A. Yu (ed.), Hualun congkan (Theories of Painting Series), Beijing: Renmin meishu chubanshe, pp. 2.495–507.
    [Google Scholar]
27. Ji, Cheng 計成 ([1631] 1988), ‘Menchuang’ (‘Doors and windows’), in Yuan ye (The Craft of Gardens), vol. 3, in Z. Chen (ed.), Yuan ye zhushi (Annotation of the Yuan ye), Beijing: Zhongguo jianzhu gongye chubanshe, pp. 171–83.
    [Google Scholar]
28. Ji, Kang 嵇康 (1937), ‘Xiong xiucai Gongmu rujun zengshi shijiu shou: Qi shisi’ (‘Nineteen poems to my brother Ji Xi enlisting in the army: Poem fourteen’), in Y. Wang (ed.), Ji Zhongsan ji (Collected Works of Ji Kang), Shanghai: Shangwu yinshuguan, p. 3.
    [Google Scholar]
29. Lam, Nin-Tung 林年同 (1980), ‘Zhongguo dianying de yishu xingshi yu meixue sixiang: Guanyu jige wenti de chubu tantao’ (‘The art form and aesthetics of Chinese cinema: A preliminary discussion of several questions’), Bafang wenyi congkan (Bafang Literary Series), 2, pp. 195–212.
    [Google Scholar]
30. Lam, Nin-Tung (1983), ‘Zhongguo dianying de kongjian yishi’ (‘The spatializing consciousness of Chinese cinema’), Zhongguo dianying yanjiu (An Interdisciplinary Journal of Chinese Film Studies), 1, pp. 58–85.
    [Google Scholar]
31. Li, Hanzhen 李漢楨 (1907), ‘Xu’ (‘Preface’), in Y. Zhou (ed.), Shiyong yingxiang xue (Practical Photography), Guangzhou: Zhiyong xueshe.
    [Google Scholar]
32. Li, Jun 李俊 (1981), ‘Guixin si jian (fen jingtou juben)’ (‘Shooting script of Anxious to Return’), in Guixin si jian: Cong juben dao yingpian (Anxious to Return: From Screenplay to Film), Beijing: Zhongguo dianying chubanshe, pp. 69–145.
33. Li, Rong 李冗 ([c.860–74] 1983), ‘Duyi zhi’ (‘Out-of-the-ordinary strange tales’), in R. Li and D. Zhang (eds), Duyi zhi; Xuanshi zhi (Tales of the Strange of the Tang Dynasty), Beijing: Zhonghua shuju, pp. 1–92.
    [Google Scholar]
34. Li, Yuanda 李元達 and Yang, Xiao 楊校 (eds) (1983), Dianying xuankan (Film Selections), Shanghai: Shanghai wenyi chubanshe.
    [Google Scholar]
35. Li, Zehou 李澤厚 (ed.) (1998), Lunyu jindu (Contemporary Reading of the Lunyu), Hefei: Anhui wenyi chubanshe.
    [Google Scholar]
36. Lo, Shi-Hin 羅時憲 (2007), Nengduan jingang borë boluo miduo jing zuanshi; Borë boluomiduo xin jing jianglu (Vajracchedikā Prajñāpāramitā Sūtra: A revised edition with interpretation; Prajñāpāramitā Hṛdaya sūtra: Lectures), Hong Kong: Dharmalakshana Buddhist Institute.
    [Google Scholar]
37. Lu, Ji 陸機 (1982), ‘Yan lianzhu wushi shou’ (‘Performing a sequence of pearls, fifty poems’), in T. Jin (ed.), Lu Ji ji (Collected Works of Lu Ji), Beijing: Zhonghua shuju, pp. 91–102.
    [Google Scholar]
38. Martin, Marcel ([1955] 1977), Le langage cinématographique, Paris: Cerf.
    [Google Scholar]
39. Martin, Marcel (1980), Dianying yuyan (Le langage cinématographique) (trans. Z. He), Beijing: Zhongguo dianying chubanshe.
    [Google Scholar]
40. Meng, Jiao 孟郊 ([c.792] 1959), ‘Zeng Li Guan’ (‘To Li Guan’), in C. Hua (ed.), Meng Dongye shiji (Poetry Collection of Meng Jiao), Beijing: Renmin wenxue chubanshe, p. 102.
    [Google Scholar]
41. Nan, Huai-Chin 南懷瑾 (2003), The Diamond Sutra Explained (trans. P. Giammasi), Florham Park, NJ: Primordia Media.
    [Google Scholar]
42. Ripa, Cesare (1593), Iconologia: Overo Descrittione dell’imagini universali cavate dall’antichità et da altri luoghi, Rome: Gli heredi di Giovanni Gigliotti.
    [Google Scholar]
43. Sadoul, Georges ([1949] 1972), Histoire du cinéma mondial: Des origines à nos jours, 9th ed., Paris: Flammarion.
    [Google Scholar]
44. Sadoul, Georges (1982), Shijie dianying shi (History of World Cinema) (trans. Z. Xu and C. Hu), Beijing: Zhongguo dianying chubanshe.
    [Google Scholar]
45. Sang, Hu 桑弧 (1979), ‘Zhufu (fen jingtou juben)’ (‘Shooting script of New Year Sacrifice’), in Zhufu: Cong xiaoshuo dao dianying (New Year Sacrifice: From Novel to Film), Beijing: Zhongguo dianying chubanshe, pp. 53–114.
46. Sengzhao 僧肇 (1985), Baozang lun (On the Precious Storehouse), in Sengzhao and S. Chen (eds), Baozang lun; Xiang jiao pi bian (On the Precious Storehouse; A Comparative Study of Saddharmapratirūpaka Buddhism and Confucianism), Beijing: Zhonghua shuju, pp. 1.1–17.
47. Shen, Kuo 沈括 ([1086] 1975), ‘Shuhua’ (‘Calligraphy and painting’), in Yuankan Mengxi bitan (Notes from the Mengxi Garden: Edition of the Yuan Dynasty), Beijing: Wenwu chubanshe, pp. 17.1–20.
    [Google Scholar]
48. Sheng, Ximing 盛熙明 ([fourteenth century] 1772–83), Fashu kao (Studies of Written Languages), in Siku quanshu (Complete Library of the Four Treasuries) (edited under the supervision of the Qianlong Emperor), Beijing: Wenyuan Ge (The Belvedere of Literary Profundity), section A.
49. Uspensky, Boris ([1970] 1973), A Poetics of Composition: The Structure of the Artistic Text and Typology of a Compositional Form (trans. V. Zavarin and S. Wittig), Berkeley, CA: University of California Press.
    [Google Scholar]
50. Wang, Fuzhi 王夫之 ([c.1685] 1992), Zhangzi Zhengmeng zhu (Annotation of Zhang Zai’s Rectifying Ignorance), Changsha: Yuelu shushe.
    [Google Scholar]
51. Wölfflin, Heinrich ([1915] 1950), Principles of Art History: The Problem of the Development of Style in Later Art, New York: Dover.
    [Google Scholar]
52. Wu, Qun 吳羣 (1981), ‘Xinhai geming shiqi de sheying baodao’ (‘Photographic reports during the Xinhai revolution’), Sheying congkan (Photography Series), Shanghai: Shanghai renmin meishu chubanshe, pp. 7.76–85.
    [Google Scholar]
53. Yang, Bojun 楊伯峻 (ed.) ([1979] 1985), Liezi ji shi (Explanation of the Collection of the Liezi), Beijing: Zhonghua shuju.
    [Google Scholar]
54. Zhang, Chunyi 張純一 (ed.) (1988), Mozi ji jie (Explanation of the Mozi and Articles About Mozi), Chengdu: Chengdu guji shudian.
    [Google Scholar]
55. Zhang, Zai 張載 ([c.1076] 1856–75), Zhengmeng (Rectifying Ignorance), in B. Zhang (ed.), Zhang Zai wenji (Collection of Essays by Zhang Zai), vol. 3, Beijing: Zhengyitang.
    [Google Scholar]
56. Zhao, Guanyuan 趙灌園 ([1235] 1982), ‘Ducheng jisheng xu’ (‘Preface to the Record of the Prosperity of Lin’an Prefecture’), in G. Zhao and Xihu laoren (eds), Ducheng jisheng; Xihu laoren fansheng lu (Record of the Prosperity of Lin’an Prefecture of the Southern Song Dynasty), Beijing: Zhongguo shangye chubanshe, pp. 1–18.
    [Google Scholar]
57. Zong, Baihua 宗白華 ([1936] 1981), ‘Lun Zhong-Xi huafa de yuanyuan yu jichu’ (‘On the origin and foundation of Chinese and European painting techniques’), in Meixue sanbu (Strolling on the Field of Aesthetics), Shanghai: Shanghai renmin chubanshe, pp. 99–113.
    [Google Scholar]
58. Zong, Bing 宗炳 ([c.430] 1962), ‘Hua shanshui xu’ (‘Introduction to painting mountains and water’), in A. Yu (ed.), Hualun congkan (Theories of Painting Series), Beijing: Renmin meishu chubanshe, p. 1.1.
    [Google Scholar]
59. Zou, Yigui 鄒一桂 ([c.1756] 1936), ‘Xiyang hua’ (‘European painting’), in Xiaoshan huapu (Xiaoshan’s Painting Collection), vol. 2, in S. Deng and B. Huang (eds), Meishu congshu (chu qi) (Art Series [First Collection]), Shanghai: Shenzhou guoguangshe, p. 12.
60. Zou, Yigui 鄒一桂 ([c.1756] 1962), ‘Xiyang hua’ (‘European painting’), in Xiaoshan huapu (Xiaoshan’s Painting Collection), vol. 2, in A. Yu (ed.), Hualun congkan (Theories of Painting Series), Beijing: Renmin meishu chubanshe, p. 2.806.
    [Google Scholar]
61. Antonioni, Michelangelo (1966), Blow Up, Italy and UK: Carlo Ponti Production and Bridge Films.
    [Google Scholar]
62. Chu, Shek-lin (Zhu Shilin/朱石麟) (1937), Xin jiu shidai (New and Old Times), China: United Photoplay Service.
    [Google Scholar]
63. Djen, Jon Lee (Zheng Junli/鄭君里) (1949), Wuya yu maque (Crows and Sparrows), China: The Peak Film Industries.
    [Google Scholar]
64. Djen, Jon Lee (Zheng Junli/鄭君里) (1959), Nie Er, China: Shanghai Haiyan Film Studio.
    [Google Scholar]
65. Djen, Jon Lee (Zheng Junli/鄭君里) (1961), Kumu fengchun (Spring Comes to the Withered Tree), China: Shanghai Film Studio.
    [Google Scholar]
66. Djen, Jon Lee (Zheng Junli/鄭君里) and Cen, Fan 岑範 (1959), Lin Zexu (The Opium Wars), China: Shanghai Haiyan Film Studio.
    [Google Scholar]
67. Djen, Jon Lee (Zheng Junli/鄭君里) and Tsai, Chu-sang (Cai Chusheng/蔡楚生) (1947), Yijiang chunshui xiang dong liu (The Spring River Flows East), China: Kunlun Film Company.
    [Google Scholar]
68. Fey, Mou (Fei Mu/費穆) (1948), Xiaocheng zhi chun (Spring in a Small Town), China: Wen Hwa Film Company.
    [Google Scholar]
69. Li, Jun 李俊 (1963), Nongnu (The Serf), China: Bayi Film Studio.
    [Google Scholar]
70. Li, Pingqian 李萍倩 (1939), Shaonainai de shanzi (The Young Mistress’ Fan), China: Hwa Hsin Film Company.
    [Google Scholar]
71. Lumière, Auguste and Lumière, Louis (1896), L’arrivée d’un train en gare de La Ciotat, France: Société Lumière.
    [Google Scholar]
72. Ma-Xu, Weibang 馬徐維邦 (1937), Yeban gesheng (Song at Midnight), China: Xinhua Film Company.
    [Google Scholar]
73. Shen, Fu 沈浮 and Tian, Ran 天然 (1979), Shuguang (Dawn), China: Shanghai Film Studio.
    [Google Scholar]
74. Shen, Xiling 沈西苓 (1935), Chuanjia nü (The Boatman’s Daughter), China: Star Motion Picture Company.
    [Google Scholar]
75. Shi, Hui 石揮 (1950), Wo zhe yibeizi (This Life of Mine), China: Wen Hwa Film Company.
    [Google Scholar]
76. Shui, Hua 水華 (1959), Linjia puzi (The Lin Family Shop), China: Beijing Film Studio.
    [Google Scholar]
77. Tao, Jin 陶金 (1956), Shiwu guan (Fifteen Strings of Cash), China: Shanghai Film Studio.
    [Google Scholar]
78. Tsai, Chu-sang (Cai Chusheng/蔡楚生) (1936), Mitu de gaoyang (A Lamb Astray), China: United Photoplay Service.
    [Google Scholar]
79. Wu, Yonggang 吳永剛 (1934), Shennü (The Goddess), China: United Photoplay Service.
    [Google Scholar]
80. Zheng, Zhengqiu 鄭正秋 (1934), Zimei hua (Twin Sisters), China: Star Motion Picture Company.
    [Google Scholar]
81. Argan, Giulio Carlo and Robb, Nesca A. (1946), ‘The architecture of Brunelleschi and the origins of perspective theory in the fifteenth century’, Journal of the Warburg and Courtauld Institutes, 9:1, pp. 96–121.
    [Google Scholar]
82. Bazin, André ([1945] 1958), ‘Ontologie de I’image photographique’, in Qu’est-ce que le cinéma? I. Ontologie et langage, Paris: Cerf, pp. 11–19.
    [Google Scholar]
83. Cao, Qilin (2022), ‘Translation as the imperial gaze: The Macau News (1839–1840)’, Fanyi xuebao (Journal of Translation Studies), 6:2, pp. 99–130.
    [Google Scholar]
84. Djen, Jon Lee (Zheng Junli/鄭君里) (1935a), ‘Zai lun yanji’ (‘A further discussion of performance’), Lianhua huabao (Lianhua Pictorial), 5:9, p. 12.
    [Google Scholar]
85. Djen, Jon Lee (Zheng Junli/鄭君里) (1935b), ‘Zai lun yanji’ (‘A further discussion of performance’), Lianhua huabao (Lianhua Pictorial), 5:10, p. 12.
    [Google Scholar]
86. Djen, Jon Lee (Zheng Junli/鄭君里) (1935c), ‘Zai lun yanji’ (‘A further discussion of performance’), Lianhua huabao (Lianhua Pictorial), 5:12, p. 14.
    [Google Scholar]
87. Djen, Jon Lee (Zheng Junli/鄭君里) (1935d), ‘Zai lun yanji’ (‘A further discussion of performance’, Lianhua huabao (Lianhua Pictorial), 6:2, p. 12.
    [Google Scholar]
88. Djen, Jon Lee (Zheng Junli/鄭君里) (1935e), ‘Zai lun yanji’ (‘A further discussion of performance’), Lianhua huabao (Lianhua Pictorial), 6:4, pp. 13 and 16.
    [Google Scholar]
89. Djen, Jon Lee (Zheng Junli/鄭君里) (1935f), ‘Zai lun yanji’ (‘A further discussion of performance’), Lianhua huabao (Lianhua Pictorial), 6:5, pp. 9–10.
    [Google Scholar]
90. Eisenstein, Sergei ([1930] 1970), ‘The dynamic square’, in J. Leyda (ed.), Film Essay and a Lecture, New York: Praeger, pp. 48–66.
    [Google Scholar]
91. Fan, Victor (2015), Cinema Approaching Reality: Locating Chinese Film Theory, Minneapolis, MN: University of Minnesota Press.
    [Google Scholar]
92. Francastel, Pierre (1951), Peinture et societé: Naissance et Destruction d’un espace plastique de la Renaissance au cubisme, Lyon: Audin.
    [Google Scholar]
93. Gioseffi, Daniela (1980), ‘Prospettiva e semiologia’ (‘Perspective and semiology’), in M. D. Emiliani (ed.), La prospettiva rinascimeutale: Codificazioni e trasgressioni (Milano 1977) (The Renaissance Prospective: Codification and Transgression [Milan 1977]), Florence: Centro Di, pp. 13–27.
    [Google Scholar]
94. Hegel, Georg W. F. ([1807] 1977), Phenomenology of Spirit (trans. A. V. Miller), Oxford: Oxford University Press.
    [Google Scholar]
95. Kent, Richard K. (2013), ‘Early 20th-century art photography in China: Adopting, domesticating, and embracing the foreign’, Trans Asian Photography: Local Culture/Global Photography, 3:2, https://doi.org/10.1215/215820251_3-2-204.
    [Google Scholar]
96. Lam, Nin-Tung 林年同 (1969), ‘You guoqing xiangqi de Hanyu dianying, fangyan dianying’ (‘From national day to Chinese-language cinema, dialect cinema’), Zhongguo xuesheng zhoubao (Chinese Students Weekly), 794, 10 October, p. 10.
    [Google Scholar]
97. Lam, Nin-Tung 林年同 (1978), ‘Wushi niandai yueyu pian yanjiu zhong de jige wenti’ (‘Several questions on the study of Cantonese cinema in the 1950s’), Da texie (Close-up), 59, 9 June, pp. 2–5, 47–51.
    [Google Scholar]
98. Lam, Nin-Tung 林年同 (1979), ‘Zhanhou Xianggang dianying fazhan de jitiao xiansuo’ (‘Several clues about the development of post-war Hong Kong cinema’), in Zhanhou Xianggang dianying huigu (1946–1968) (Hong Kong Cinema Survey [1946–1968]) (edited by the organizer of the Third Hong Kong International Film Festival), Hong Kong: Urban Council, pp. 8–25.
99. Lam, Nin-Tung 林年同 (1985), ‘Zhongguo dianying de tedian’ (‘Characteristics of Chinese cinema’), in Jing you (Mirroring-Journeying), Hong Kong: Suye chubanshe, pp. 57–65.
    [Google Scholar]
100. Liu, Jichao 劉繼潮 (2004), ‘Goujian gudian shanshui hua kongjian lilun de huayu tixi: Shi yi da guan xiao de siwei zhihui’ (‘Establishing the spatializing theory of Chinese landscape painting: Reinterpretation of yi da guan xiao’), Meishu yanjiu (Art Research), 2, pp. 48–55.
     [Google Scholar]
101. Liu, Ruli 劉汝醴 (1979), ‘Shixue: Woguo zuizao de toushi xue zhuzuo’ (‘Study of Vision: The earliest work on perspective theory in our country’), Nanyi xuebao (Journal of Southern Art), 1, pp. 75–78.
     [Google Scholar]
102. Longhi, Roberto (1974), Da Cimabue a Morandi (From Cimabue to Morandi), Milan: Arnoldo Mondadori.
     [Google Scholar]
103. Ogle, Patrick L. (1972), ‘Technological and aesthetic influences upon the development of deep focus cinematography in the United States’, Screen, 13:1, pp. 45–72.
     [Google Scholar]
104. Panofsky, Erwin ([1927] 1991), Perspective as Symbolic Form (trans. C. S. Wood), New York: Zone Books.
     [Google Scholar]
105. Procaccini, Alfonso (1981), ‘Alberti and the “point” of perspective’, Versus, 29, pp. 77–92.
     [Google Scholar]
106. Romm, Mikhail (1958), Changmian diaodu sheji (Design of Mise en Scène) (based on lectures given at the All-Union State Institute of Cinematography, now the Gerasimov Institute of Cinematography) (trans. W. Mei), Beijing: Zhongguo dianying chubanshe.
     [Google Scholar]
107. Sartre, Jean-Paul (1940), L’imaginaire. Psychologie phénoménologique de l’imagination, Paris: Gallimard.
     [Google Scholar]
108. Schapiro, Meyer (1970), ‘On some problems in the semiotics of visual art: Field and vehicle in image-signs’, in A. J. Greimas, R. Jakobson, M. R. Mayenowa, S. K. Šaumjan, W. Steinitz and S. Żółkiewski (eds), Sign, Language, Culture/Singe, Langage, Culture/Znak, Język, Kultura/Znak, Jazyk, Kul’tura, The Hague: Mouton, pp. 487–502.
     [Google Scholar]
109. Shen, Kangshen 沈康身 (1982), ‘Jiehua: Shixue he toushi xue’ (‘The technique of boundary painting: Study of Vision and perspective theory’), in Keji shi wenji (Collection of Science and Technology History), Shanghai: Shanghai kexue jishu chubanshe, pp. 8.159–76.
     [Google Scholar]
110. Shi, Dongshan 史東山 (1958), Dianying yishu zai biaoxian xingshi shang de jige tedian (Several Characteristics of Cinematic Art in Expressive Methods), Beijing: Zhongguo dianying chubanshe.
     [Google Scholar]
111. Uspenski, Boris A. (1973), ‘Per l’analisi semiotica delle antiche icone russe’ (‘For the semiotic analysis of ancient Russian icons’), in J. M. Lotman and B. A. Uspenski (eds), Ricerche semiotiche: Nuove tendenze delle scienze umane nell’URSS (Semiotic Research: New Tendencies of the Human Science from the USSR), Turin: Einaudi, pp. 337–78.
     [Google Scholar]
112. Wang, Guowei 王國維 ([1910] 1926), Renjian cihua (On Human Lyrics), Beijing: Pushe.
     [Google Scholar]
113. Wu, Suxin 伍素心 (1984), Zhongguo sheying shi hua (On the History of Chinese Photography), Shenyang: Liaoning meishu chubanshe.
     [Google Scholar]
114. Ye, Ming 葉明 (1963), ‘Guanyu dianying de changmian diaodu’ (‘On cinematic mise en scène’), Dianying yishu (Film Art), 1, pp. 12–21.
     [Google Scholar]
115. Yu, Kiki Tianqi (2023), ‘Cinematic ideorealm and cinema following Dao: Theorizing film aesthetics through Daoism’, Screen, 64:4, pp. 462–84.
     [Google Scholar]
116. Yutkevich, Sergei ([1947] 1956), Yinmu shang de ren (People on Screen) (trans. M. Shi), Beijing: Yishu chubanshe, pp. 7–154.
     [Google Scholar]